”Kosovo cycle” of composed songs by Dragan Nikolić

Abstract

This paper focuses on the examining of the compositional work of Dragan Nikolić from Pančevo, whose artistic output includes a specific thematic unit referred to as the ”Kosovo Cycle,” inspired by the musical-folkloric heritage of Kosovo and Metohija. Aiming to gain a more comprehensive insight into Nikolić’s work, interactive conversations in the form of semi-structured and freeform interviews were conducted with the author himself, as well as with his friend and lyricist, Ivan Karaklić. Considering that Dragan Nikolić refers to his own work within the ”Kosovo Cycle” as ”ethnomodern”, the scientific interpretation of this artistic concept is based on recognizing elements characteristic of the traditional Kosovo-Metohijan expression. By intertwining ethnographic data with an analysis of the poetic and musical structures within this cycle, and comparing them with previously recorded songs from Kosovo and Metohija, a relationship has been established between (neo)traditional and modern interpretative styles. Within the ”Kosovo Cycle,” the song named ”Kosovo Peonies” stands out, as it largely corresponds with examples recorded in urban areas of Kosovo and Metohija. It has achieved the greatest popularity among the general public and is often referred to as an example of traditional musical heritage. Other analyzed records from this cycle, characterized by elements of contemporary composed folk music and influences from more popular musical genres, have not reached the same level of reception in the public domain. Regardless, by examining the distinctive features of Dragan Nikolić’s compositional work, a need and a desire to “revive” the Kosovo myth through the composed songs/ ethnomodernism, as an important segment of national identity, is readily observed.